Prof. Dr. Patrick Vonderau
Prof. Dr. Patrick Vonderau
Sprechzeit in der Vorlesungszeit:
Mi, 16.00–18.00 Uhr (nur nach Anmeldung im Stud.IP oder per E-Mail)
Sprechzeit in der vorlesungsfreien Zeit: n. V.
Raum 206
Tel.: (0345) 55 235 70
patrick.vonderau@medienkomm.uni-halle.de
Overview
In June 2018, Patrick Vonderau was appointed W3 Professor of Media and Communication Studies at Martin-Luther-University Halle-Wittenberg. Previously, he taught as a professor at the Department of Media Studies at Stockholm University, Sweden. After studying at the University of Copenhagen, Freie Universität Berlin and Humboldt-Universität zu Berlin, where he received his doctorate in 2005, Patrick worked as an Assistant Professor at the Berlin University of the Arts (Strategic Communication) and Ruhr-University Bochum (Media Studies). Several research stays in the US (2008, 2011-12) preceded work in Sweden (since 2009). Patrick Vonderau is Advisory Editor of the “Springer Series in Media Industries” book series and a member of the Editorial Board of Television and New Media (since 2019), Convergence (since 2018), the Media Industries Journal (since 2013, member of the Editorial Collective since 2016), and Montage AV. Zeitschrift für Theorie & Geschichte audiovisueller Kommunikation (since 2000). Furthermore, he is co-initiator and former board member of NECS - European Network for Cinema and Media Studies, member of the board of trustees of ZEM-Brandenburgisches Zentrum für Medienwissenschaften and a member of the board of directors of Muhlenberg Center. A selection of publications can be found on academia.edu .
Latest book publications:
Advertising and the Transformation of Screen Cultures (Amsterdam University Press, 2021), co-authored with Bo Florin and Yvonne Zimmermann, https://www.aup.nl/en/book/9789462989153/advertising-and-the-transformation-of-screen-cultures
Petrocinema: Sponsored Film and the Oil Industry (Bloomsbury, 2021), co-edited with Marina L. Dahlquist, https://www.bloomsbury.com/uk/petrocinema-9781501354144/
Spotify Teardown: Inside the Black Box of Streaming Music (MIT Press, 2019), co-authored with Maria Eriksson, Rasmus Fleischer, Anna Johansson, and Pelle Snickars, https://mitpress.mit.edu/books/spotify-teardown
Featured in: Rolling Stone , Financial Times , Süddeutsche Zeitung , The Nation , Big Think , Les Jours , Freakonomics Podcast , Salon , The Quietus , Wire Magazine , Deutschlandfunk Kultur , Neural , WDR Cosmo , TAZ , Musically , Penny Fractions Blog , Radio FM4 , The Atlantic , The Baffle and others.
Team
Administration:
Office 209
Phone: (0345) 55 236 28
Fax: (0345) 55 270 58
claudia.rabe@medienkomm.uni-halle.de
Staff:
Dr. Lies van Roessel
Christopher Fust, M. A.
Maren Schuster M.A.
Dr. Christian Stewen
Christopher Fust M.A
Visiting Scientinsts
Dr. Anna Verbytska
Associate Prof. Dr. Tung-Hui Hu (University of Michigan / Humboldt Research Fellowship)
Research and Teaching Assistants:
Research Areas
Media Industries
Production Studies
Digital Distribution and Infrastructures
Media/Markets and Marketing
Sponsored Film, Advertising
Current Research Projects
Study to examine existing and alternative compensation models in music streaming.
Conducted in the Digital Culture Research Network
Head of the research network: Prof. Dr. Jana Costas, Prof. Dr. Patrick Vonderau
Funding: The Federal Commissioner for Culture and the Media (BKM)Duration: 2022-2025
Modern Media and the Oil Industry
Project Management: Prof. Dr. Patrick Vonderau
Project participant: Dr. Marina L. Dahlquist
Funding: Riksbankens Jubileumsfond (The Swedish Foundation for Humanities and Social Sciences)
Duration: 2020-2023
Project-related publications:
Petrocinema. Sponsored Film and the Oil Industry. New York/London: Bloomsbury, 2021
Algorithms in context – Towards a comparative agenda for studies of algorithmic governance across politics, culture, and economy
Funded by The Swedish Research Council/VR (NOS-HS), 2019-2020 (co-applicant; lead applicant: Daria Gritsenko, University of Helsinki).
Shadow Economies of the Internet: An Ethnography of Click Farming
Project Management: Prof. Dr. Patrick Vonderau, Prof. Dr. Johan Lindquist (Stockholm University)
Funding: Vetenskapsrådet (The Swedish Research Council)
Duration: 2018-2022
Featured in Vice Germany
Project-related publications:
Expert or Idiot? On False Dilemmas in Media Industries Research. In: Synoptique 8,2 Special Issue "The Labour of Media (Studies): Activism, Education, and Industry", https://synoptique.ca/8-2-labour-of-media-studies/
Ethics in Media Industries Research. In: Routledge Companion to Media Industries. Ed. by Paul McDonald. New York/London: Routledge, 2021, 518-526.
Questioning the Content Supply Model: A Provocation. In: Digital Media Distribution: Portals, Platforms, Pipelines. Ed. by Paul McDonald, Courtney Brannon Donoghue & Timothy Havens. New York: New York University Press, 2021, 126-142.
Streaming Heritage: Following Files in Digital Music Distribution
Project Management: Prof. Dr. Patrick Vonderau, Prof. Dr. Pelle Snickars (Umeå University)
Funding: Vetenskapsrådet (The Swedish Research Council)
Duration: 2013-2018
Project-related publications:
"Spotify Teardown: Inside the Black Box of Streaming Music" Cambridge, MA: MIT Press, 2018 (Co-authored with Pelle Snickars, Rasmus Fleischer, Maria Eriksson und Anna Johansson).
“Access and Mistrust in Media Industries Research” in: Making Media: Production, Practices, and Professions, ed. by Mark Deuze and Mirjam Prenger (Amsterdam: Amsterdam University Press, 2018, in print).
“App Annie: App Industry Rankings and Infrastructure” in: Appified. Ed. by Jeremy W. Morris and Sarah Murray. Ann Arbor: University of Michigan Press (2018, in print).
“Technology and Language, or How to Apply Media Industries Research?” in: Applied Media Studies. Ed. by Kirsten Ostherr. New York/London: Routledge, 2018.
“The Spotify Effect: Digital Distribution and Financial Growth” Television & New Media (November 2017, https://doi.org/10.1177/1527476417741200 ).
“Studying Ad Targeting with Digital Methods” Culture Unbound 9 (2), 2017, 212-221 (with Roger Mähler).
„The Video Bubble: Multi-Channel Networks and the Transformation of Youtube” in: Convergence. Convergence: The International Journal of Research into New Media Technologies, August 2016; vol. 22, 4, 361-375 (Special Issue Connected Viewing).
“The Politics of Content Aggregation” in: Television & New Media, December 2015; vol. 16,8, 717-733.
“Where Ideas Are Free: Scientific Knowledge in the Algorithm Economy" in: Media Fields Journal 10 (Fall 2015) (online at mediafieldsjournal.squarespace.com ).
Advertising and the Transformation of Screen Cultures
Project Management: Prof. Dr. Patrick Vonderau
Project participants: Prof. Dr. Yvonne Zimmermann, Dr. Bo Florin
Funding: Riksbankens Jubileumsfond (The Swedish Foundation for Humanities and Social Sciences)
Duration: 2013-2017
Project-related publications:
Digitization project with Deutsche Kinemathek Berlin, Charles Wilp Collection (ongoing, launch 2019)
Advertising and the Transformation of Screen Cultures. Amsterdam: Amsterdam University Press, 2020 (in print; with Bo Florin and Yvonne Zimmermann).
Films that Sell: Moving Pictures and Advertising. London und New York: BFI/Palgrave, 2016 (=Cultural Histories of Cinema Series; Haidee Wasson & Lee Grieveson, eds.) (Co-edited with Bo Florin and Nico de Klerk, 324 pages, peer-reviewed).
“On the Relation of Advertising to Moving Pictures,” in: Films that Sell: Moving Pictures and Advertising. Ed. by Bo Florin, Nico de Klerk & Patrick Vonderau. London and New York: BFI/Palgrave, 2016, 3-22.
„Hollywood-Montage: Theorie, Geschichte und Analyse des “Vorkapich-Effekts”, in: Montage AV 20,2 (2016), 201-224.
“Kim Novak and Morgan Stairways: Thinking about the Theory and History of the Tie-in,” in: Films that Sell: Moving Pictures and Advertising. Ed. by Bo Florin, Nico de Klerk & Patrick Vonderau. London and New York: BFI/Palgrave, 2016, 209-222.
Participation in international and national organizations
NECS – European Network for Cinema and Media Studies (Co-initiator 2004, member of the Steering Committee and the Conference Committee, 2005-2011)
Advertising Film Research Workgroup within NECS (Founder, since 2010)
AG Medienindustrien, Gesellschaft für Medienwissenschaft (GfM) (Initiator, since 2012)
Media Industries Scholarly Interest Group der Society for Cinema and Media Studies (Founding member, since 2010)
SCMS – Society for Cinema and Media Studies
ICA – International Communication Association
Gesellschaft für Medienwissenschaft (GfM)
Cinegraph Babelsberg, Berlin-Brandenburgisches Zentrum für Filmforschung
Gesellschaft für Theorie & Geschichte audiovisueller Kommunikation e.V., Berlin
ECREA – European Communication Research and Education Association
CinEcoSA – Cinéma, Economie & Sociétés Anglophones, Sorbonne Nouvelle, Paris
Selected Publications
https://orcid.org/0000-0003-4454-8775Journals
Television & New Media (peer reviewed, Sage, Editorial Board), since 2019.
Convergence (peer reviewed, Sage, Editorial Board), since 2018.
Media Industries Journal (open access, peer reviewed, quarterly journal, Editorial Board since 2013, 2017 admission to the Editorial Collective), mediaindustriesjournal.org (first issue May 2014).
Montage AV. Zeitschrift für Theorie & Geschichte audiovisueller Kommunikation (peer reviewed, semi-annual publication, co-publisher and editor since 2000). Marburg: Schüren.
Journal of Scandinavian Cinema. Co-editor 1,1, 2010-3,2, 2012. London: Intellect (bi-annual, peer-reviewed).
Monographs
Advertising and the Transformation of Screen Cultures. Amsterdam: Amsterdam University Press, 2020 (im Druck; Ko-Autor mit Bo Florin und Yvonne Zimmermann).
Spotify Teardown. Inside the Black Box of Streaming Music. Cambridge, MA: MIT Press, 2019 (Ko-Autor mit Pelle Snickars, Rasmus Fleischer, Maria Eriksson und Anna Johansson).
A Tale from Constantinople. The History of a Film that Never Was. Stockholm: Symposium, 2019. (Ko-Autor mit Bo Florin)
Bilder vom Norden. Schwedisch-deutsche Filmbeziehungen, 1914-1939. Marburg: Schüren, 2006.
Editorships
Petrocinema. Sponsored Film and the Oil Industry. New York/London: Bloomsbury, 2021 (Ko-Herausgeber mit Marina Dahlquist).
Films that Sell: Moving Pictures and Advertising. London und New York: BFI/Palgrave, 2016 (=Cultural Histories of Cinema Series; Haidee Wasson & Lee Grieveson, eds.) (Ko-Herausgeber mit Bo Florin und Nico de Klerk).
Behind the Screen: Inside European Production Cultures. London/New York: Palgrave MacMillan, 2013 (Ko-Herausgeber mit Petr Szczepanik).
Moving Data. The iPhone and the Future of Media. New York: Columbia University Press, 2012 (Ko-Herausgeber mit Pelle Snickars).
The YouTube Reader. Stockholm/London: National Library of Sweden /Wallflower Press, 2009 (Ko-Herausgeber mit Pelle Snickars).
Films that Work. Industrial Film and the Productivity of Media. Amsterdam: Amsterdam University Press, 2009 (=Film Culture in Transition) (Ko-Herausgeber mit Vinzenz Hediger).
Filmische Mittel, industrielle Zwecke. Das Werk des Industriefilms. Berlin: Vorwerk 8, 2007 (Ko-Herausgeber mit Vinzenz Hediger).
Demnächst in Ihrem Kino. Grundlagen der Filmwerbung und Filmgestaltung. Marburg: Schüren, 2005 (Ko-Herausgeber mit Vinzenz Hediger, 2. Aufl. 2009).
Film as History / History as Film. Florence: European University Institute; Berlin: Humboldt-Universität zu Berlin, 1999.
Papers
What is Production Studies Anyway? In: Methods of Production Studies in Audiovisual Media. Hg. v. Daniel Göttel, Aycha Riffi und Stefan Udelhofen. Frankfurt am Main: Springer, 2022 (im Erscheinen).
Ethics in Media Industries Research. In: Routledge Companion to Media Industries. Ed. by Paul McDonald. New York/London: Routledge, 2021, 518-526.
Questioning the Content Supply Model: A Provocation. In: Digital Media Distribution: Portals, Platforms, Pipelines. Ed. by Paul McDonald, Courtney Brannon Donoghue & Timothy Havens. New York: New York University Press, 2021, 126-142.
Methode als wissenschaftssoziales Problem. In: Zeitschrift für Medienwissenschaft 11,21, 165–168, DOI: http://dx.doi.org/10.25969/mediarep/12624 .
Access and Mistrust in Media Industries Research, in: Making Media. Production, Practices, and Professions. Ed. by Mark Deuze & Miriam Prenger (Amsterdam: Amsterdam University Press, 2019), 61-72.
The Spotify Effect: Digital Distribution and Financial Growth, Television & New Media 20,1, 2019, https://doi.org/10.1177/1527476417741200 .
Studying Ad Targeting with Digital Methods: The Case of Spotify, Culture Unbound 9, 2017, 212-221 (with Roger Mähler).
App Annie, in: Appified. Ed. by Jeremy W. Morris and Sarah Murray. Ann Arbor: University of Michigan Press, 2018, 23-31.
Technology and Language, or How to Apply Media Industries Research?, in: Applied Media Studies. Ed. by Kirsten Ostherr. New York/London: Routledge, 2017, 11-30.
Quantitative Methoden, in: Handbuch Filmanalyse. Ed. by Volker Pantenburg und Malte Hagener. Wiesbaden: Springer, doi:10.1007/978-3-658-13352-8_28-1.
Genretheorien des Films, in: Handbuch Filmtheorie. Ed. by Bernhard Groß and Thomas Morsch. Wiesbaden: Springer, 2017, http://doi-org-443.webvpn.fjmu.edu.cn/10.1007/978-3-658-09514-7_9-1 .
The Video Bubble: Multi-Channel Networks and the Transformation of Youtube, in: Convergence. Convergence: The International Journal of Research into New Media Technologies, August 2016; vol. 22, 4: S. 361-375 (Special issue Connected Viewing).
On the Relation of Advertising to Moving Pictures, in: Films that Sell: Moving Pictures and Advertising. Ed. by Bo Florin, Nico de Klerk & Patrick Vonderau. London and New York: BFI/Palgrave, 2016 S. 3-22.
Kim Novak and Morgan Stairways: Thinking about the Theory and History of the Tie-in, in: Films that Sell: Moving Pictures and Advertising. Ed. by Bo Florin, Nico de Klerk & Patrick Vonderau. London and New York: BFI/Palgrave, 2016, S. 209-222.
Hollywood-Montage: Theorie, Geschichte und Analyse des “Vorkapich-Effekts”, in: Montage AV 20,2 (2016), 201-224.
The Politics of Content Aggregation, in: Television & New Media, December 2015; vol. 16, 8: pp. 717-733.
How Global Is Hollywood? Division of Labor from a Prop-Making Perspective, in: Production Studies II. Ed. by Vicki Mayer, Miranda Banks and Bridget Conor. New York/London: Routledge, 2015, S. 23-36.
“Where Ideas Are Free:” Scientific Knowledge in the Algorithm Economy, in: Media Fields Journal 10 (Herbst 2015) (online at mediafieldsjournal.squarespace.com ).
“Where the Internet Lives”. Data Centers as Cloud Infrastructure (with J. Holt), in: Signal Traffic. Critical Studies of Media Infrastructures. Ed. by Lisa Parks & Nicole Starosielski. University of Illinois Press, 2014, S. 71-93.
Industry Proximity. Media Industries Journal 1,1 (Mai 2014), mediaindustriesjournal.org.
Beyond Piracy: Understanding Digital Markets, in: Connected Viewing: Selling, Sharing, and Streaming Media in a Digital Age. Ed. by Jennifer Holt & Kevin Sanson. London/New York: Routledge, 2014, S. 99-123.
Video, in: The Johns Hopkins Guide to Digital Media and Textuality. Ed. by Marie-Laure Ryan, Lori Emerson & Benjamin J. Robertson. Baltimore: Johns Hopkins University Press, 2014, S. 497-500.
Borderlands, Contact Zones, and Boundary Games: An Interview with John Th. Caldwell, in: Behind the Screen: Inside European Production Cultures. Ed. by Petr Szczepanik and Patrick Vonderau. London/New York: Palgrave MacMillan (Global Cinema Series), 2013, S. 13-27.
Introduction (with P. Sczczepanik), in: Behind the Screen: Inside European Production Cultures. Ed. by Petr Szczepanik and Patrick Vonderau. London/New York: Palgrave MacMillan (Global Cinema Series), 2013, S. 1-13.
Editorial. Montage AV (Themenheft: Produktion), 22,1, 2013, S. 1-9.
Theorien der Produktion: ein Überblick. Montage AV (Themenheft: Produktion), 22,1, 2013, S. 9-32.
Lupu Pick’s Scherben and the Advent of the Kammerspielfilm Cycle, in: A New History of German Cinema. Ed. by Jennifer Kapczynski & Michael Richardson. Rochester, NY: Camden House, 2012, S. 105-110.
Introduction (with P. Snickars), in: Moving Data. The iPhone and the Future of Media. Ed. by Pelle Snickars & Patrick Vonderau. New York: Columbia University Press, 2012.
Motiv-Szenographien. Krieg als Gegenstand filmischen Erzählens, in: Rabbiteye. Zeischrift für Filmforschung, 3, 2011, rabbiteye.de
Understanding Orlova: YouTube Producers, Hot for Words, and Some Pitfalls of Production Studies, in: Widescreen Journal 2,2, 2010 (http://widescreenjournal.org ).
Brünett bevorzugt. ‘Erfahrung’ in der Zuschauerforschung Hollywoods, in: Montage AV (Themenheft: Erfahrung) 19,1, 2010, S. 135-160.
Inga Lindström and the Franchising of Culture, in: Regional Aesthetics. Ed. by Erik Hedling, Olaf Hedling & Mats Jönsson. Stockholm: National Library of Sweden, 2010, S. 141-152.
„In erster Linie ein technisches Phänomen“: Zur deutschen Synchronisation von King Kong (1933), in: Filmblatt 15,43 (2010), S. 71-77.
Nobody knows anything. Produktions- als Wissensmanagement. In: Strategisches Management für Filmproduktionen. Herausforderungen – Strategien – Best Practices. Ed. by Michael Hülsmann & Jörn Grapp. München: Oldenbourg Wissenschaftsverlag, 2009, S. 609-624.
Fly Me! Hollywood, die Deregulierung des Luftverkehrs und das Lächeln einer Stewardess, in: Flugbilder. Ed. by Judith Keilbach & Alexandra Schneider. Münster: LIT, 2009, S. 11-22.
Vernacular Archiving. An Interview with Rick Prelinger, in: Films that Work. Industrial Film and the Productivity of Media. Ed. by V. Hediger & P. Vonderau. Amsterdam: Amsterdam University Press, 2009, S. 51-64.
Visiting as a Cultural Technique. Visitor Films and Autostadt Wolfsburg, in: Films that Work. Films that Work. Industrial Film and the Productivity of Media. Ed. by V. Hediger & P. Vonderau. Amsterdam: Amsterdam University Press, 2009, S. 153-166.
Industrial Films. An Analytical Bibliography (with A. Heymer), in: Films that Work. Films that Work. Industrial Film and the Productivity of Media. Amsterdam: Amsterdam University Press (Film Culture in Transition), 2009, S. 405-462.
Record, Rhetoric, Rationalization. Film and Industrial Organization (with V. Hediger), in: Films that Work. Industrial Film and the Productivity of Media. Ed. by V. Hediger & P. Vonderau. Amsterdam: Amsterdam University Press, 2009, S. 35-50.
“Kim Novak and...” Theorie und Geschichte des Product Placement, in: Montage AV 18,2, 2009, S. 175-196.
Serien, Seriosität und die Öffentlichkeit der Pornographie: Ein Interview mit dem Porno-Produzenten Harry S. Morgan, in: Montage/AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation 18,2, 2009, S. 55-64.
„Tief erschüttert von diesem Wunderland...“, in: Bewegte See. Maritimes Kino 1912-1957. Ed. by Jörg Schöning. München: edition text + kritik, 2007, S. 114-126.
Wrong Turn. Falsche Fährten und Filmgenres, in: Falsche Fährten in Film und Fernsehen. Ed. by Andrea Braidt, Anton Fuxjäger, Patric Blaser & Brigitte Mayr. Wien: Böhlau (Maske und Kothurn 53, 2-3), 2007, S. 175-185.
Emotionen auf Bestellung. Zur Ökonomik des Filmerlebens, in: Audiovisuelle Emotionen. Emotionsdarstellung und Emotionsvermittlung durch audiovisuelle Medienangebote. Ed. by Kathrin Fahlenbrach, Jens Eder & Anne Bartsch. Köln: Halem-Verlag, 2007, S. 156-170.
Why Greta Garbo Did Not Become a German Movie Star. Film Marketing in the European Film Business of the 1920s, in: MLVs. Cinema and Other Media. Ed. by Veronica Innocenti. Pasian di Prato: Campanotto Editore 2006, S. 207-217
The Big Parade. In: Filmgenres. Kriegsfilm. Ed. by Thomas Klein, Marcus Stiglegger & Bodo Traber. Stuttgart: Reclam, 2006, S. 38-40.
Todeskommando/Du warst unser Kamerad/Iwo Jima, die große Schlacht, in: Filmgenres. Kriegsfilm. Ed. by Thomas Klein, Marcus Stiglegger & Bodo Traber. Stuttgart: Reclam, 2006, S. 87-92.
Ökonomien der Gefühle: Der Horrorfilm, in: Die Massen bewegen. Medien und Emotionen in der Moderne. Ed. by Manuel Borutta & Frank Bösch. Frankfurt: Campus, 2006, S. 53-68.
Computergestützte Filmanalyse. In: Handbuch qualitative Medienforschung. Ed. by Lothar Mikos & Claudia Wegener. Konstanz: UVK, 2005, S. 466-474.
Landkarten des Vergnügens. Genre und Filmvermarktung (with V. Hediger), in: Demnächst in ihrem Kino. Grundlagen der Filmwerbung und Filmvermarktung. Ed. by Vinzenz Hediger & Patrick Vonderau. Marburg: Schüren, 2005, S. 240-249.
Landkarten des Vergnügens. Genre und Filmvermarktung (with V. Hediger), in: Demnächst in ihrem Kino. Grundlagen der Filmwerbung und Filmvermarktung. Ed. by Vinzenz Hediger & Patrick Vonderau. Marburg: Schüren, 2005, S. 240-249.
Die Logik organisierter Sensationen. Dogma 95 und die Kunst, in Europa einen Film zu vermarkten, in: Demnächst in ihrem Kino. Grundlagen der Filmwerbung und Filmvermarktung. Ed. by Vinzenz Hediger & Patrick Vonderau. Marburg: Schüren, 2005, S. 212-227.
Krieg im Kino. Aufriss eines Problemfeldes, in: Krieg und Medien. Verantwortung zwischen apokalyptischen Bildern und paradiesischen Quoten. Ed. by Rafael Capurro & Petra Grimm. Stuttgart: Steiner, 2004, S. 97-106.
„Auf einem Felsen hoch oben zwei Gestalten. Schattenhaft.“ Zu Carl Mayers Drehbuch Der Gang in die Nacht, in: Carl Mayer, Scenar[t]ist. Ein Script von ihm war schon ein Film. Ed. by Michael Omasta, Brigitte Mayr & Christian Cargnelli. Wien: Synema, 2003, S. 111-122.
The DVD - Study Centre of Today? in: Celluloid Goes Digital. Approaches to Historical-Critical Film Editions on DVD. Ed. by Martin Loiperdinger. Trier: Wissenschaftsverlag, 2003, S. 43-52.
Affektmanagement im Horrorfilm, in: Lexikon der Filmbegriffe. Ed. by Hans Jürgen Wulff & Theo Bender. Mainz: Bender-Verlag, 2002 (http://lexikon.bender-verlag.de ).
Filmanalyse, Filmgeschichte und Neue Medien, in: Medienwissenschaft. Mitteilungen der Gesellschaft für Film- und Medienwissenschaft, 2, 2002, S. 4-12.
“In the hands of a maniac.” Der moderne Horrorfilm als kommunikatives Handlungsspiel, in: Montage/AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation 11,2, 2002, S. 129-146.
Wie in (k)einem Spiegel. Scandinavian 60s, in: Filmgeschichte, 15, 2002, S. 19-24.
Geheime Verwandtschaften? Der „Schwedenfilm“ und die Geschichte des Weimarer Kinos, in: Montage/AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation 9, 2, 2000, S. 65-100.
Horrorfilm. In: Lexikon der Filmbegriffe. Ed. by Hans Jürgen Wulff & Theo Bender. Mainz: Bender-Verlag (http://lexikon.bender-verlag.de ), 2002.
Bilder vom Norden. Schwedisch-deutsche Filmbeziehungen, 1921-1922, in: Die kulturelle Konstruktion von Gemeinschaften. Schweden und Deutschland im Modernisierungsprozess. Ed. by Alexandra Bänsch & Bernd Henningsen. Baden-Baden: Nomos, 2001, pp. 163-194.
Aufbruch in die Sackgasse? Dogma 95 im Kontext der Autorenpolitik, in: nachdemfilm.de, 2 (www.nachdemfilm.de), 2001.
Zwischen Bergen und Berchtesgaden. Der Norden im Spielfilm des Dritten Reiches, in: Filmgeschichte, 14, 2000, S. 59-62.
Historiography and Film: A Dangerous Liaison? in: Film as History / History as Film. Ed. by Patrick Vonderau. Florence: European University Institute; Berlin: Humboldt-Universität zu Berlin (Gemenskaper Working Papers; 21), 1999, S. 9-22.
Film- und medienwissenschaftliche Ausbildung in Skandinavien, in: Film- und Fernsehwissenschaft, 2, 1998, S. 4-9.
Organization of conferences and workshops
Workshop Production Studies, October 2019, Martin-Luther-University Halle-Wittenberg, October 2019.
Shadow Economies of the Internet, Stockholm University, September 19-21, 2018 (with Johan Lindquist).
Media Industry Studies: Current Debates and Future Directions, 18-20 April 2018, King's College London (Advisory Committee).
Defining Digital Markets: Dialogues between Media Studies and Market Studies, 7-8 September 2017, Stockholm University (with Johan Lindquist, Jennifer Holt and Ramon Lobato).
Films that Drill: Modern Imaginaries and the Oil Industry, Stockholm University, October 2015 (with Marina Dahlquist).
Moving Image Analytics, Royal Library/Stockholm University, September 2015 (with Pelle Snickars).
Moving Image Advertising: Future Directions for Research, SCMS-Society for Cinema and Media Studies Conference, Montréal, March 2015 (with Yvonne Zimmermann).
Public Service 3.0. The Future of Television, international conference, Institutionen för mediestudier, Stockholm University, November 2013.
Exploring Advertising, international conference, Filmvetenskapliga institutionen, Stockholm University, May 2012 (co-organized with Bo Florin).
Connected Viewing Conference. Filmvetenskapliga institutionen, Stockholm University, November 2011 (co-organized with Jennifer Holt).
"Lights! Tystnad! Azione!" Practices, Sites and Careers in European Film Production. Filmvetenskapliga institutionen, Stockholm University, April 2011.
Sonic Futures: Soundscapes and the Languages of Screen Media. The NECS 2011 Conference, Birkbeck College & King's College, University of London, June 2011 (co-organized with Dorota Ostrowska and Ginette Vincendeau)
Urban Mediations. NECS - European Network of Cinema and Media Studies. International conference, Kadir Has University Istanbul, Turkey, 24-27 June 2010 (co-organized with Melis Behlil).
European Production Studies Group - First International Workshop. Filmvetenskapliga institutionen, Stockholm University, 1 May 2010.
Urban Mediations NECS - European Network of Cinema and Media Studies, 24-27 June 2010, Istanbul, Turkey (co-organized with Melis Behlil).
Locating Media. NECS - European Network of Cinema and Media Studies. Department for Art and Cinema, Lund University, Sweden, 25-28 June 2009 (co-organized with Mats Jönsson).
New and Old Frames. NECS - European Network of Cinema and Media Studies. Department for Art and Cinema, ELTE University, Budapest, 19-22 June 2008 (co-organized with A. Bálint Kovács and Terez Vincze)
NECS - European Network of Cinema and Media Studies. Institute of Theatre, Film and Media Studies, University of Vienna, 19-21 June 2007 (co-organized with P. Blaser, A. Braidt, A. Fuxjäger and B. Mayer).
Cinema and Radio as Versions of Each Other: Audiovisual Media Culture and the Cinema/Radio Convergence in 1930s USA and Europe. MAGIS Gradisca Spring School, Gradisca d'Isonzo, Friuli, Italy, March-April 2006. (Workshop co-organized with Vinzenz Hediger and Petr Sczczepanik)
NECS - European Network of Cinema and Media Studies. Deutsches Historisches Museum Berlin, 10-11 February 2006 (co-organized with M. Hagener, V. Hediger & A. Schneider).
Films That Work. First International Conference on Sponsored Filmmaking, Institute for Media Studies, 9-10 December 2004 (co-organized with V. Hediger).